For many years this figure stood outside the Hopper McGaw store at the corner of Charles and Mulberry Streets, Baltimore. From the early 1700s to the late 1800s carved figures of American Indians were used to advertise tobacco. The association was a logical one; Native Americans were the original cultivators of tobacco. In the creation of the image, however, such figures rarely represented specific American Indians and in at least one case it was been suggested that the model was specific European-American woman. In the absence of a recognizable portrait, American Indian identity was assigned through the use of such regerence points as fringed tunics, moccasins, and feather headdresses. The assocaiation of the feather headdress with a Cigar Store Indian woman is common but porbably incorrect. In ethonogrpahic and historic literature one rearly sees a woman wearing a feather headdress [Photo:slef protrati in oils by Zacharie Vincet Telariolin (1793-1886), a chief.]In the eighteenth and nineteenth centuries, figures such as these were ofthen referred to as Trade-Sign Figures, Wooden Show Figures, or Cigar Store Indians. By the twentieth century individual figures of American Indian men were referred to as chiefs, braves, or scouts, while figures of women were commonly referred to as "maids,"princesses," or "squaws." "Maids" and "princesses" are 19th-century romantic terms commonly applied to any young woman. "Squaw derives from the Narragansett term "squa", which was a general reference for women as early as the 17th century. In the 20th century "squaw" has become a pejorative term ebcause of the way in which American Indian women are portrayed in western movies and other forms of popular entertainment; most women are protrayed as inferior people who are seduced and abandoned by white traders and soldiers.